But these data did not help our cook to work, nor us to regular meals. . .

Diary of Elizabeth Hyde Botume, 1892 Among the Freedmen

DeathA young colored sergeant just returned from the army died, and was buried at midnight. He...died a little after dark. His freinds immediately assembled and held a watch-meeting, which they call "a settingup." All night long we could hear their solemn chanting and clapping of hands, as they beat the time. They had a priase-meeting before the house, as they believe the spirit remains with the body until daylight, when it takes leave and goes home to the heavenly Father as the morning stares go out.

The comrades of the young sergeant wished to bury him with military honors, so they waited until the next night at midnight. They had a long procession, with torches and a muffled drum. then all the women and children straggled along, sing their spirituals. It was a sombre sight.

Diary of Elizabeth Hyde Botume, 1892, Among the Freedmen

Music

ShoutsIn the evening, the children frequently came in to sing and shout for us. These "shouts" are very strange, - in truth, almost indescribable. It is necessary to hear and see in order to have any clear idea of them. The children form a ring, and move around in a kind of shuffling dance, singing all the time. Four or five stand apart, and sing very energetically, clapping their hands, stamping their feet, and rocking their bodies to and fro. These are the musicians, to whose performance the shouters keep perfect time. The grown people on this plantation did not shout, but they do on some of the other plantations. It is very comical to see little children, not more than three or four years old, entering into performance with all their might. but the shouting of the grown people is rather solemn and impressive than otherwise. We cannot determine whether it has a religious character or not. Some of the people tell us that it has, others that it has not. but as the shouts of the grown people are always in connection with their religious meetings, it is probable that they are the barbarous expression of religion, handed down to them from their African ancestors, and destined to pass away under the influence of Christian teachings.

Charlotte Forten, "Life on the Sea Islands", The Atlantic Monthly

Sunday March 20, 1864This evening we drove down to a shout---they have one frequently, after praise. As we were going, Bristol overtook us, and we ask him if he was going to the shout. "No ma'am, dey wouldn't let me in--I haint found dat ting yet, (meaning religion). Haint been out on my knees in de swamp." These people have the custom when they are "on the anxious bench", of going "out in de wilderness: as they call it-wandering by night thro- the woods and swamps like the ancient Bacchantes. It must be this that the song above refers to; and they use the expression "fin' dat ting" for getting religion.--They shouted to seven tunes--Heaven bell, Archangel open de door, I can't stay behin' my lord, Jesus die, Sinner Turn, My body rack wid feber, and Jordan roll. The Heaven bell is a pretty good type of these tunes. The introduction is sung, the shouters standing still or clapping their hands. Then begins the second part, the regular shout. I will try to sent it some time. "Sinner turn is very sweet--I hadn't heard it before this evening.William Frances Allen diary

"I went to a "shout." This is a religious rite of the blacks in this region. It consists of a peculiar dance to the singing of some hymn or song extempore. At the commencement a circle dance men, women, and children, around two persons who sing. This dance is an indescribable movement of the feet very heavy and a correspondent movement of the body. At the end of the tune or song the central group is increased and another dance commenced each dance increasing the central group. The Shout continues sometimes all night, increasing gradually in vigor and vehemence and the atmosphere ditto. I remained far beyond my wish, waiting for the carriage."Susan Walker, "Trip to Port Royal First Days"

SpiritualsOne of the first books that catalogued the songs of the Sea Islands was The Slave Songs of the United States by William Francis Allen, Charles Pichard Ware, and Lucy Mckim Garrison who were part of the Port Royal Experiment.

Jehovia, halleluhal, de Lord is perwideJehoviah, Hallelujah, De Lord is per-wide,Jehoviah, Hallelujah, De Lord is per-wideDe foxes have a hole,an de birdies have-a nest,De Son of Man he dunnot where to lay de weary head.

Worship Of The Negroes. A correspondent at Port Royal, S. C, (The Rebellion Record a Diary and American Documents)

gives an interesting account of the religious meetings of negroes, in .which singing is the favorite exercise. They have a great variety of sacred songs, which they sing and shout at the top of their voices, and never grow weary. A favorite melody is, "Roll, Jordan, roll:"

Little children sitting on the tree of life,To hear when Jordan roll; Oh ! roll, Jordan, roll; roll, Jordan, roll;We march the angel march;oh! march the angel march;On, my soul Is rising heavenward, to hear when Jordan roll. 0 my brother sitting on the tree of life, To hear when Jordan roll, etc.Sister Mary, sitting on the tree of life, To hear when Jordan Roll, etc.

The verses vary only in the recitative. If Mr. Jones is a visitor, he will hear, "Mr. Jones is sitting on the tree of life." All of the persons present are introduced to the tree of life: Nancy, James, and Sancho. There is no pause; before the last roll is ended, the one giving the recitative places another brother or sister on the tree, and then Jordan rolls again. It is a continuous refrain, till all have had their turn upon the tree.

A weird plantation refrain in a minor key is, "Down in the Lonesome Valley." This has also a recitative and chorus:

My sister, don't you want to get religionGo down in the lonesome valley,Go down in the lonesome valley,Go down In the lonesome valley, my Lord,To meet my Jesus there

As the song goes on the enthusiasm rises. They sing louder and stronger. The one giving the recitative leads off with more vigor, and the chorus rolls with an increasing volume. They beat time at first with their feet, then with their hands. William cannot sit still. He rises, begins a shuffle with his feet, jerking his arms. Ann, a short, thick-set pure-blooded black woman, wearing a checked gingham dress, and an apron which was once a window-curtain, can no longer keep her seat. She claps her hands, makes a short, quick jerk of her body on the unaccented part of the measure, keeping exact time. Catharine and Sancho cath the inspiration. We push the centretable aside to give them room. They go round in a circle, singing, shuffling, jerking, shouting louder and louder. Those upon the seats respond more vigorously, keeping time with feet and hands. William seems in a trance; his eyes arc filed, yet he goes on into a double-shuffle. Every joint in his body seems to be hung on wires. Feet, legs, arms, head, body, jerk like a dancing dandy Jack. Sancho enters into the praise with his whole heart, clasping his hands, looking, upward and outward upon the crowd as if they were his children and he a patriarch. His countenance beams with joy. He is all but carried away with the excitement of the moment. So it goes on till nature is exhausted. When the meeting breaks up, the singers go through the ceremony of shaking hands all round, keeping time to the tune, "There's a meeting here tonight."